Thursday, April 27, 2017

For Art's Sake

Films: The Horse’s Mouth
Format: Streaming video from Kanopy on laptop.

Alec Guinness was one of the great cinematic chameleons. Paul Muni could play just about any role, but so could Guinness, who was equally comfortable in comedy or drama and left an indelible impression on millions of childhoods in science fiction. His performance in The Bridge on the River Kwai is one of the greatest acting performances in cinematic history in my opinion. He plays a role as far from that in The Horse’s Mouth as possible in many ways. He also happened to pen the adapted (and nominated) screenplay.

Gulley Jimson (Guinness) is an eccentric and Bohemian artist who, as the film begins, has just been released from a month’s stint in prison after harassing one of his patrons via telephone. He’s greeted by Nosey (Mike Morgan), a young man with a stutter and the desire to be an artist himself. Gulley is alternately encouraging and cruel to the young boy. In fact, hoping to get away from him, he sends Nosey on an errand and steals the boy’s bike.

Wednesday, April 26, 2017

Wednesday Horror: X: The Man with the X-Ray Eyes

Films: X (X: The Man with the X-Ray Eyes)
Format: Turner Classic Movies on rockin’ flatscreen.

I do love good science fiction and I always have. I think we’re often guided by the things that are most formative to us. Both of my brothers loved science fiction and many of my earliest film loves were in this genre. There are, of course, plenty of truly great science fiction films with large budgets—the sort of summer tent pole films that are plenty popular. I love the ones from the ‘50s and ’60s, too. Of these, one of my favorites is X, more formally known as X: The Man with the X-Ray Eyes.

The worst of science fiction takes a stupid premise and does what it can. The best of science fiction takes an interesting premise and offers a view of what might happen. With X, we’re more in the second category by way of the first. What would happen, the film asks, if a man could discover a way to see more than just the visible light spectrum? What horrors might await us with the ability to see below the surface?

Tuesday, April 25, 2017

Anytown, USA

Films: Our Town
Format: Internet video on laptop.

Our Town is based on a stage play, and it manages to do something that many films do not: it doesn’t specifically look like it was based on a stage play. That in and of itself is noteworthy. The movie is based on the Pulitzer Prize-winning play of the same name by Thornton Wilder. I don’t always like stage transfers to screen because they tend to look like someone staged the play and then filmed it. That’s definitely not the case here, and it works very much to the film’s credit.

The drama that takes place happens in the town of Grover’s Corners, NH. We’re introduced to the town by Mr. Morgan (Frank Craven), a local resident (maybe) or perhaps something like a guiding spirit over the town. It’s a little down just over the border from Connecticut and it seems to be pretty much normal in every way. People are born, live, get married, have kids, and die in the town, often never really travelling far from the confines or from the 3000 people or so who live in the immediate area.

Sunday, April 23, 2017

Shirley Valentine's Patient Zero

Films: Summertime
Format: Streaming video from Kanopy on laptop.

When you think of David Lean, you probably think of epic films, but those films are from the end of his career. Lean’s last five films were epic in terms of length and most of them were epic in scope as well. Lean’s career contained smaller films, too; Brief Encounter stands out as a prime example, but the strength of The Bridge on the River Kwai, Doctor Zhivago, A Passage to India, and especially Lawrence of Arabia (and to a lesser extent Ryan’s Daughter) are what causes him to be remembered as a director of epics. Summertime is the last of his smaller, shorter movies, but with its exotic (for 1955) setting, it serves as a bridge between Lean’s earlier career and his later movies.

Summertime, based on a play called “The Time of the Cuckoo,” seems to have been tailor-made for Katherine Hepburn. Much like Lean is associated with epics, there is a particular kind of role that is easily associated with Hepburn. For a movie from then 1930s-1950s, any female character who has a strong independent streak, often living life on her own terms despite not being married (unusual for the time), Katherine Hepburn was your go-to. So, that’s exactly what we’re going to have here.

Saturday, April 22, 2017

The Who's Version is Better

Films: The Kids Are All Right
Format: DVD from NetFlix on laptop.

I’ve said before that I always do my best to go into every movie I watch with hope. I hope it’s good. I want to enjoy it. Some movies have a higher initial hurdle in that respect, admittedly, but there are plenty of films that clear it. Fried Green Tomatoes is a great example—I expected to be bored and ended up enjoying myself watching it. With The Kids Are All Right, the opposite happened. We have a good cast (a great cast in terms of the adults) and I’m not opposed to domestic dramas. I walked out the other side of this not wondering why it was so acclaimed but wondering if we as a society are really that easy. I don’t like bagging on a film that got this much positive attention, but I don’t get it.

Nicole “Nic” (Annette Benning) and Jules Allgood (Julianne Moore) are a married couple living around Los Angeles. Nic is an obstetrician while Jules has more or less been a housewife, raising the couple’s two children, both of whom were conceived through the same unknown sperm donor. Older child Joni (Mia Wasikowska), who is Nic’s biological daughter has just turned 18, meaning that she can now legally ask for information about that sperm donor. She’s not interested, but her 15-year-old brother Laser (Josh Hutcherson), Jules’s biological son, desperately wants her to. She finally relents, and the pair discover that their biological father is Paul (Mark Ruffalo), the owner of a local restaurant.